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ORSON WELLES (En El Centenario De Su Nacimiento) 2 Proyector “Marín” De 35Mm (Ca.1970)
cineclub universitario/aula de cine centro de cultura contemporánea - vicerrectorado de extensión universitaria Universidad de Granada P r o g r a m a c i ó n d e octubre 2 0 1 5 MAESTROS DEL CINE CLÁSICO (VIII): ORSON WELLES (en el centenario de su nacimiento) 2 Proyector “Marín” de 35mm (ca.1970). Cineclub Universitario Foto: Jacar [indiscreetlens.blogspot.com] (2015). El CINECLUB UNIVERSITARIO se crea en 1949 con el nombre de “Cineclub de Granada”. Será en 1953 cuando pase a llamarse con su actual denominación. Así pues en este curso 2015-2016 cumplimos 62 (66) años. 2 OCTUBRE 2015 MAESTROS DEL CINE CLÁSICO (VIII): ORSON WELLES (en el centenario de su nacimiento) OCTOBER 2015 MASTERS OF CLASSIC CINEMA (VIII): ORSON WELLES (100 years since his birth) Martes 20 / Tuesday 20th • 21 h. EL EXTRAÑO (1946) ( THE STRANGER) v.o.s.e. / OV film with Spanish subtitles Viernes 23 / Friday 23th • 21 h. SED DE MAL (1958) ( TOUCH OF EVIL ) v.o.s.e. / OV film with Spanish subtitles Martes 27 / Tuesday 27th • 21 h. CAMPANADAS A MEDIANOCHE (1965) ( CHIMES AT MIDNIGHT / CAMPANADAS A MEDIANOCHE ) v.o.s.e. / OV film with Spanish subtitles Viernes 30 / Friday 30th • 21 h. FRAUDE (1973) ( FAKE / QUESTION MARK / VÉRITÉS ET MENSONGES) v.o.s.e. / OV film with Spanish subtitles Todas las proyecciones en el Aula Magna de la Facultad de Ciencias. All projections at the Assembly Hall in the Science College. Seminario “CAUTIVOS DEL CINE” Miércoles 21 octubre / 17 h. EL CINE DE ORSON WELLES Gabinete de Teatro & Cine del Palacio de la Madraza Entrada libre (hasta completar aforo) 3 4 “No creo que en el futuro se me recuerde. -
The Horror Film Series
Ihe Museum of Modern Art No. 11 jest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Saturday, February 6, I965 FOR IMMEDIATE RELEASE The Museum of Modern Art Film Library will present THE HORROR FILM, a series of 20 films, from February 7 through April, 18. Selected by Arthur L. Mayer, the series is planned as a representative sampling, not a comprehensive survey, of the horror genre. The pictures range from the early German fantasies and legends, THE CABINET OF DR. CALIGARI (I9I9), NOSFERATU (1922), to the recent Roger Corman-Vincent Price British series of adaptations of Edgar Allan Poe, represented here by THE MASQUE OF THE RED DEATH (I96IO. Milestones of American horror films, the Universal series in the 1950s, include THE PHANTOM OF THE OPERA (1925), FRANKENSTEIN (1951), his BRIDE (l$55), his SON (1929), and THE MUMMY (1953). The resurgence of the horror film in the 1940s, as seen in a series produced by Val Lewton at RR0, is represented by THE CAT PEOPLE (19^), THE CURSE OF THE CAT PEOPLE (19^4), I WALKED WITH A ZOMBIE (19*£), and THE BODY SNAT0HER (19^5). Richard Griffith, Director of the Film Library, and Mr. Mayer, in their book, The Movies, state that "In true horror films, the archcriminal becomes the archfiend the first and greatest of whom was undoubtedly Lon Chaney. ...The year Lon Chaney died [1951], his director, Tod Browning,filmed DRACULA and therewith launched the full vogue of horror films. What made DRACULA a turning-point was that it did not attempt to explain away its tale of vampirism and supernatural horrors. -
Mary in Film
PONT~CALFACULTYOFTHEOLOGY "MARIANUM" INTERNATIONAL MARIAN RESEARCH INSTITUTE (UNIVERSITY OF DAYTON) MARY IN FILM AN ANALYSIS OF CINEMATIC PRESENTATIONS OF THE VIRGIN MARY FROM 1897- 1999: A THEOLOGICAL APPRAISAL OF A SOCIO-CULTURAL REALITY A thesis submitted to The International Marian Research Institute In Partial Fulfillment of the Requirements for the degree Licentiate of Sacred Theology (with Specialization in Mariology) By: Michael P. Durley Director: Rev. Johann G. Roten, S.M. IMRI Dayton, Ohio (USA) 45469-1390 2000 Table of Contents I) Purpose and Method 4-7 ll) Review of Literature on 'Mary in Film'- Stlltus Quaestionis 8-25 lli) Catholic Teaching on the Instruments of Social Communication Overview 26-28 Vigilanti Cura (1936) 29-32 Miranda Prorsus (1957) 33-35 Inter Miri.fica (1963) 36-40 Communio et Progressio (1971) 41-48 Aetatis Novae (1992) 49-52 Summary 53-54 IV) General Review of Trends in Film History and Mary's Place Therein Introduction 55-56 Actuality Films (1895-1915) 57 Early 'Life of Christ' films (1898-1929) 58-61 Melodramas (1910-1930) 62-64 Fantasy Epics and the Golden Age ofHollywood (1930-1950) 65-67 Realistic Movements (1946-1959) 68-70 Various 'New Waves' (1959-1990) 71-75 Religious and Marian Revival (1985-Present) 76-78 V) Thematic Survey of Mary in Films Classification Criteria 79-84 Lectures 85-92 Filmographies of Marian Lectures Catechetical 93-94 Apparitions 95 Miscellaneous 96 Documentaries 97-106 Filmographies of Marian Documentaries Marian Art 107-108 Apparitions 109-112 Miscellaneous 113-115 Dramas -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding Aid Prepared by Lisa Deboer, Lisa Castrogiovanni
Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Finding aid prepared by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier and revised by Diana Bowers-Smith. This finding aid was produced using the Archivists' Toolkit September 04, 2019 Brooklyn Public Library - Brooklyn Collection , 2006; revised 2008 and 2018. 10 Grand Army Plaza Brooklyn, NY, 11238 718.230.2762 [email protected] Guide to the Brooklyn Playbills and Programs Collection, BCMS.0041 Table of Contents Summary Information ................................................................................................................................. 7 Historical Note...............................................................................................................................................8 Scope and Contents....................................................................................................................................... 8 Arrangement...................................................................................................................................................9 Collection Highlights.....................................................................................................................................9 Administrative Information .......................................................................................................................10 Related Materials ..................................................................................................................................... -
Is Moved up SPEAKER to STORY Appear Here Scenes Steeped in Mid-West Frontier Thedral Will Be Visited
Eastern Illinois University The Keep July 1935 7-16-1935 Daily Eastern News: July 16, 1935 Eastern Illinois University Follow this and additional works at: https://thekeep.eiu.edu/den_1935_jul Recommended Citation Eastern Illinois University, "Daily Eastern News: July 16, 1935" (1935). July. 6. https://thekeep.eiu.edu/den_1935_jul/6 This Book is brought to you for free and open access by the 1935 at The Keep. It has been accepted for inclusion in July by an authorized administrator of The Keep. For more information, please contact [email protected]. Herbert Petrie's Hussars Amateur Night We~nesday, July 24 Ueacbera <tollege 1Rewa Thursday, 8 P. M. Columbia M eda!ist I CPA First Place Tif/ inner, 1935 "TELL THE TRUTH AND DON'T BE AFRAID" 1931-32-33-31-35 V.OL. XX. CHARLESTON, !iLLINOIS, TUEeDAY, Ju;LY 16, 1935 NO. 6-S Second Lincoln Country Excursion, to Amateur Nite EI TOASTMISTRESS •!Hussars Will Kentucky, Is Slated for This Week BEATS KADELPIAN 'S Is Moved Up SPEAKER TO STORY Appear Here Scenes steeped in Mid-west frontier thedral will be visited. This church history will be visited on the tri-state Was the Second cathedral established Wilma Nuttal, social chairman To Thursday west of the Appalachian mountains. of Kappa Delta Pi, reports from On July 24th excursion to be sponsored jointly by Denver where she attended the e history and geography depart- From Vincennes the party will con- K d . b Date for Show Advanced from th . tinue southeast through Petersburg to a e1 plan anquet last fort- Herbert Petrie's Instrumental Friday; Edith Stoltz, Chair ments th1s . -
Ambler Theater a NONPROFIT
A NONPROFIT Ambler Theater ART HOUSE Previews105A SEPTEMBER – DECEMBER 2018 Bengt Ekerot and Max von Sydow in THE SEVENTH SEAL in Sydow and Max von Bengt Ekerot INCLUDES OUR MAIN ATTRACTIONS AND SPECIAL PROGRAMS A MBLERT HEATER.ORG 215 345 7855 Welcome to the nonprofit Ambler Theater The Ambler Theater is a nonprofit, tax-exempt 501(c)(3) organization. Policies ADMISSION Children under 6 – Children under age 6 will not be admitted to our films or programs unless specifically indicated. General ............................................................$11.25 Late Arrivals – The theater reserves the right to stop selling Members ...........................................................$6.75 tickets (and/or seating patrons) 10 minutes after a film has Seniors (62+) & Students ..................................$9.00 started. Matinees Outside Food and Drink – Patrons are not permitted to bring Mon, Tues, Thurs & Fri before 4:30 outside food and drink into the theater. Sat & Sun before 2:30 .....................................$9.00 Wed Early Matinee before 2:30 ........................$8.00 Accessibility & Hearing Assistance – The Ambler Theater has wheelchair-accessible auditoriums and restrooms, and is Affiliated Theater Members* .............................$6.75 equipped with hearing enhancement headsets and closed You must present your membership card to obtain membership discounts. caption devices. (Please inquire at the concession stand.) The above ticket prices are subject to change. Parking – Check our website for parking information. THANK YOU MEMBERS! Your membership is the foundation of the theater’s success. Without your membership support, we would not How can you support AMBLER THEATER exist. Thank you for being a member. Contact us with your feedback the Ambler Theater? MEMBER or questions at 215 348 1878 x115 or email us at Be a member. -
English 2333: an Abbreviated Frankenstein Filmography Dr
English 2333: An Abbreviated Frankenstein Filmography Dr. Monica Smith [Before this class meeting, students watch the Edison Frankenstein for homework and answer three questions, and we begin class by reviewing these questions: 1) What version of the Creature does this film present: the Creature as monster, the creature as human, or something in between? 2) What aspects of Shelley’s story (characterization, plot detail, setting, imagery) have the filmmakers kept? What has been deleted? To what effect? 3) What role does music play in this film?] Frankenstein (usually called The 1910 Edison Frankenstein) Director J. Searle Dawley. Starring Charles Ogle. Edison, 1910. Silent film. Approximately 13 minutes. This is the earliest known film version of Frankenstein. Regrettably, the only surviving copy was held by a private collector who refused to let film students and scholars study or even view it. Now the film fortunately has passed into the public domain and is available via Google video. Frankenstein Director James Whale. Starring Boris Karloff, Colin Clive, and Mae Clarke. Produced by Carl Laemmle, Jr. Adaptation by Robert Florey and John L. Balderston. Screenplay by Garrett Fort, Robert Florey, and Francis Edward Faragoh. Based on the play by Peggy Webling. Universal, 1931. 71 minutes. This version makes substantive changes to both plot and character, renaming our protagonist, for one example, “Dr. Henry Frankenstein,” and calling his friend “Victor.” This film gives us many of the stock elements of the twentieth-century Frankenstein myth: the mad scientist in a castle on a mountaintop who cries “It’s alive! It’s alive!” when his reanimation is successful, the scientist’s hunchbacked assistant, and the robot-like, inarticulate creature with bolts in his neck. -
Bride of Frankenstein
Frankenstein and The Bride of Frankenstein Richard T. Jameson “The A List: The National Society of Film Critics 100 Essential Films, ” 2002 Reprinted by permission of the author In 1931, the director Robert Florey lived in a Los Ange- les apartment with a view of a Dutch-style bakery and its logo, a windmill complete with turning vanes. Flo- rey had just been assigned by Carl Laemmle Jr. to di- rect a production of “Frankenstein” for Universal, and as he mused on a possible look for the film, he found himself considering a windmill as a key location— perhaps the site of the scientist’s secret laboratory. As it happened, it would be James Whale, not Florey, who directed “Frankenstein,” and Henry Frankenstein would set up shop in “an abandoned watchtower.” But that windmill got lodged in the collective brain of the filmmaking team (also in one line of dialogue absent- mindedly retained from an early script draft), and fi- nally made it on screen as an opportunistic but aptly crazed-Gothic setting for the film’s fiery climax. It’s all very well to talk about aesthetically unified mas- terpieces and posit them as the definition of film art. But movies are a messy business, and the irksome (glorious?) truth is that some landmark films have be- Poster from the 1953 re-release of the ‘30s horror classic come utterly indispensable and culturally pervasive Courtesy Library of Congress Prints & Photographs Online Collection despite being created by committee and riddled with imperfections. In the case of Frankenstein, the imper- fections include half-baked sequences, tedious subsidi- ture he’d assembled from parts of dead bodies. -
Theater Playbills and Programs Collection, 1875-1972
Guide to the Brooklyn Theater Playbills and Programs Collection, 1875-1972 Brooklyn Public Library Grand Army Plaza Brooklyn, NY 11238 Contact: Brooklyn Collection Phone: 718.230.2762 Fax: 718.857.2245 Email: [email protected] www.brooklynpubliclibrary.org Processed by Lisa DeBoer, Lisa Castrogiovanni and Lisa Studier. Finding aid created in 2006. Revised and expanded in 2008. Copyright © 2006-2008 Brooklyn Public Library. All rights reserved. Descriptive Summary Creator: Various Title: Brooklyn Theater Playbills and Programs Collection Date Span: 1875-1972 Abstract: The Brooklyn Theater Playbills and Programs Collection consists of 800 playbills and programs for motion pictures, musical concerts, high school commencement exercises, lectures, photoplays, vaudeville, and burlesque, as well as the more traditional offerings such as plays and operas, all from Brooklyn theaters. Quantity: 2.25 linear feet Location: Brooklyn Collection Map Room, cabinet 11 Repository: Brooklyn Public Library – Brooklyn Collection Reference Code: BC0071 Scope and Content Note The 800 items in the Brooklyn Theater Playbills and Programs Collection, which occupies 2.25 cubic feet, easily refute the stereotypes of Brooklyn as provincial and insular. From the late 1880s until the 1940s, the period covered by the bulk of these materials, the performing arts thrived in Brooklyn and were available to residents right at their doorsteps. At one point, there were over 200 theaters in Brooklyn. Frequented by the rich, the middle class and the working poor, they enjoyed mass popularity. With materials from 115 different theaters, the collection spans almost a century, from 1875 to 1972. The highest concentration is in the years 1890 to 1909, with approximately 450 items. -
Reflections of Science and Medicine in Two Frankenstein Adaptations: Frankenstein (Whale
Reflections of Science and Medicine in Two Frankenstein Adaptations: Frankenstein (Whale 1931) and Mary Shelley’s Frankenstein (Branagh 1994) Fran Pheasant-Kelly Mary Shelley’s Frankenstein, a novel that centers on a scientist who collects organs and limbs from dead bodies to construct a new being, illustrates the complex, interwoven history of science and science fiction. The novel’s attention to the animation of assembled body parts reflects contemporaneous scientific interest in the reanimation of corpses by galvanism. In this article, I extend the science/science-fiction relationship developed in the novel by analyzing the visual differences between two of its subsequent film adaptations. Although scholars have extensively scrutinized and speculated about Shelley’s influences, limited consideration of contemporary scientific influences on later film versions exists. The first production considered here, directed by James Whale in 1931, presents Shelley’s Creature1 as a monstrous robotic figure, suggesting automation as an influencing theme and electricity as a source of life. Its mechanical movement echoes developments in mechanization typical of the time, as well as the related theme of automatism associated with the Futurist art movement. In stark contrast, the Creature of Kenneth Branagh’s 1994 adaptation is corporeal and abject, with more emphasis placed on bodily fluids than electricity. While neither version takes into account obvious medical implausibilities, such as incompatible tissue types, brain death, and irreversible tissue damage, they do reveal how discourses of science and medical history have shifted since Shelley wrote her novel. If Whale’s adaptation reflects interest in and experimentation with the effects of technology and electricity as well as co-existent issues of eugenics and criminal atavism, then Branagh’s film typifies concurrent scientific preoccupations with assisted reproduction and cloning. -
P-26 Motion Picture Collection Repository: Seaver Center For
P-26 Motion Picture Collection Repository: Seaver Center for Western History Research, Natural History Museum of Los Angeles County Span Dates: c.1872-1971, bulk 1890s-1930s Extent: 48 linear feet Language: Primarily English Conditions Governing Use: Permission to publish, quote or reproduce must be secured from the repository and the copyright holder Conditions Governing Access: Research is by appointment only Preferred Citation: Motion Picture Collection, Seaver Center for Western History Research, Los Angeles County Museum of Natural History Related Holdings: There are numerous related collections, and these can be found by consulting the Photo and General Collection guides available at the Seaver Center’s website. They include manuscripts in general collection 1095 (Motion Pictures Collection), general collection 1269 (Motion Picture Programs and Memorabilia), general collection 1286 (Movie Posters Collection), general collection 1287 (Movie Window Cards and Lobby Cards Collection), and general collection 1288 (Motion Picture Exhibitors’ Campaign Books). Seaver Center for Western History Research P-26 Abstract: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented, including portraits by studio photographers, film and set stills, and other images, as well as related programs, brochures and clippings. Early technology and experimental work in moving pictures is represented by images about camera and projection devices and their inventors. Items related to movie production include early laboratories, sound, lighting and make-up technology. These items form Photograph Collection P-26 in the Seaver Center for Western History Research. Scope and Content: The Motion Picture Collection is primarily a photograph collection. Actor and actress stills are represented (including portraits by studio photographers), film stills, set stills, and other images, as well as related programs, brochures and clippings.